THE

3
J

Núcleo de Arte Musical

NAM^USIC
Rua Chamantá, 926
Fone:Z273-8665

A Course of Piano Study for the teen-age and

adult beginner. Designed for those who wish
to éhjoy the piano while learning to play.
Provides the opportunity to create acceptable
music while at the same time- acquiring the
finest possible preparation for more advanced
study.

BOOK
ONE

©Copyright 1959
MONTGOMERY MUSIC INC.
BUFFALO, NEW YORK 14202
International Copyright Secured Printcd in U.S.A.
AH Rights Reserved Ineluding Public Performance for Profit

hy Art,-i-:ift iíf O^rp. on

 FINGERNUMBERS
This is how the fingers
are numbered for playing
the piano

The thumb is
finger l

POSITION AT THE PIANO

Adjust the height of the chair só that the fore- BAD:
arm and hand are about levei.
The music should be placed slightly below eye
( Fingers are curved too much.

levei só that it can be read with ease.

BAD:
Fingers are too straíght, which makes playing
awkward.

The fingers should be curved gently, to play on

the soft finger tips just back of the-finger nails.
The back of the hand is held fairly levei só that
íhe 4th and 5íh fingers are in good playing posi-
tion — can lift and drop comfortably.
The thumb lifts and drops from this joint. The
(The finger nails should be kept short enough that they thumb should feel loose at this joint. The thumb
do not click on the piano keys.) plays on its side. It is always over the keys. When
the fingers are gently curved, the thumb will
naturally remain over the keys.

The fingers lift and drop from the knuckle. There

should be a feeling of looseness at the knuckle. GOOD: BAD:
The knuckles curve outwards, they do not sink Play in the center of each key, and not near the
in. The finger tips are firm; when the key is side of the key. Watch to see that the fingers are
played, the finger tip does not "break" jn. evenly spaced, each finger in the center of its key.

© Copyright 1959 by Montgomery Music Inc.

International Copyright Secured
in U. S. A.
 THE PIANO KEYBOARD
(Letter-Names of the Piano Keys)

C I D I E ! F I G I A Í B I C 1 D I E |F |G GIAIBICIDIEIF IGIAÍBIC
The FIRST SEVEN LETTERS of the alphabet, A, B, C, D, E, F, G, are used as NAMES for the PIANO
KEYS.
The Piano Keyboard hás WHITE keys and BLACK keys. The BLACK keys are grouped in TWOS and
THREES.
BETWEEN the TWO BLACK KEYS is a white key named D. (Locate different D's on the keyboard.)
C, D, and E are the three white keys that touch the TWO black keys. (Locate
different C-D~E's.)
Find ali the different C's on the piano keyboard.
F, G, A, and B are the four white keys that touch the THREE black keys. (Locate
different F~G-A-B's.)
Locate C-D-E—F—G in different places on the keyboard.
Name the white keys from C to the next C higker on the piano.
Name the white keys from C to the next C lower on the piano.
• *f •
> The C on the Keyboard nearest the center of the piano -manufactureis name
is called MIDDLE C
^
TONE
MUSIC - produced on whatever instrumení - sounds acceptable ONLY IF THE PLAYER IS LISTEN-
ING AS HE PLAYS. This means listening in a somewhat detached way só that you can hear the kind of
tone produced as you play: soft, loud, harsh, pleasing, sustained (singing), detached (short), etc.
The musical examples contained in íhis book are planned to enable the student to give full attention to
the SOUND produced (to the MUSIC) from the very beginning of music study. Learning to play in this
way, progress is more rapid because concentration is keener, and playing can be a pleasure right from the
beginning! Almost equally important, others will enjoy listening, no matter how easy the piece may be.
Most of us have had the delightful experience of hearing an artist play some small, unpretentious piece
in a creative way. The word "artist" implies a performer who listens and creates as he plays.
The piano is an expressive instrument, and with very little persuasion will give back to the player the
kind of tone he hears in his own mind. You can create the kind of music you wish to hear! At the begin-
ning of music study, it is most important to CULTIVATE THE HABIT OF LISTENING AS YOU
PLAY. Only in this way can one enjoy learning to play, and only in this way can one become a musician.
i? PIANO KEYS drop only a short distance when played. Therefore, it takes very little force to depress a
piano key só that it sounds. KEEP THIS IN MIND when playing, and RELAX the hand só that the
^* fingers are free of stiffness and tension and can lift and drop independently of each other, and you will
very soon gain contrai of the hands, and cóntrol of the tone!
 HOW MUSIC IS WRITTEN
4
(Notes Represent Piano Keys)
NOTES ARE EASY TO READ and to associate with the piano keys they represent.
Notes are written
This is a STAFF ON THE LINES and -O- JDL
of five lines: IN THE SPACES -O-
between the lines:

This is a The treble clef placed 4

TREBLE CLEF: on the staft makes this In piano music, the
the TREBLE STAFF: Treble Staff and Bass
The bass clef placed ^ y Staff are connected
This is a by a BRACE:
BASS CLEF: on the staff makes this -
the BASS STAFF:

Notes from MIDDLE C UPWARDS are written on the treble staff and are played by the right
h and.
Notes from MIDDLE C DQWNWARDS are written on the bass staff and are played by the left
hand.
MIDDLE C is the dividing line between treble and bass.

fft\/ 1
Míddle C may be written below the f
íreble staff; or above the bass staff: €>• • - Miadie o l i n e - . - T í r - - —v— -
CV
- J./*
\. _ . _ , _

Right Hand:
In order to make music easy to read, the treble and bass staves
are placed a little distonce apart,and the dividing line,Middle $
Ml/
^

C line, is omitted. Wheu Middle C is to be played by the right CJ \

the same ,^rt"

hand, it is placed next to the treble staff; when Middle C is to Middle C ^'J i.
be played by the left hand, it is placed next to the bass staff: 4'"
4r
r
i' r
~F
-it
Left Hand

KEYBOARD CHART

The KEYBOARD CHART (found inside the front cover of the book) should now be deíached
from the book and prepared as directed on the Charí.
Place íhe Chart on the piano keyboard, Middle C note on the Chart being placed directly back
of Middle C on the keyboard. The Keyboard Chart will help to co-relate NOTES and PIANO
KEYS.
(At the beginning, it may be encouraging to know that one needs to be able to read only a few notes tf
in order to play many interesting pisces f)
 TIME VALUES OF NOTES

QUARTER NOTE HALF NOTE DOTTED HALF NOTE WHOLE NOTE

r
l beat
r
2 beats
r
3 beats
O

4 beats
(black note-head (white note-head (the dot adds one beat (round, whitenote
with stem) with stem) to the kalf- note) no stem)

TIME SIGNATURES

The TIME SIGNATURE placed at the beginning of a piece of music shows the number of beats
in each measure of the piece. Music, like poetry, hás rhythm, that is, it hás accented and unac-
cented beats. The first beat in the measure is stressed (accented).

Here are three different TIME SIGNATURES :

The UPPER figure in the Time Signaíure indicates HOW MANY BEATS, or counts, in each
measure — 2, 3 or 4.
The LOWER figure (4) shows that the quarter note (J) receives one beat,or count.
(From bar Une to bar Une is a measure.)
^A double bar Une tnarks the end of a piece.)

Two beats in a measure. Three beats in a measure. Four beats in a measure.

i
! Bar Doubíe
line bar
]f *>
/L ^> /L ;** /L **-
fm j*í
f/T\
\yJ •* a £j
ff A
f/H
Uv; * «1 « O f^S* \>u 4- «rJ AI o>1 m ÍP flr ^^
t)
Count: í 2 í 2 Courcí: í 2 J 123 COMTÍÍ: 1 2 3 4 1 2 3 4
•*— a measure *• a measure -* a measure —>• a measure -f a measure *- a measure
4 V <Tk í* \" Q L\ K
* H' ÁJ •• ,1 l' f*-
/ v. j r.f&
s _/ fí
-^ ^t-

LETTER-NAMES OF NOTES
i Middle
t
l1
Gi ^o_ jft "f^
\ 1 i ! í» ^ l f
<B l w 1
, x\^ 1 . i J jdt f r ' '
»
V> y" * J a •* d» *^ 1r Fi
•
>; '
'
-é-**
; < C D E F G A B C D E F G A B C D E jF G A B ' .C D E F G A B C
i
! • , «i j» Pi*
VV
r - l JJ i» Ji* p» ' 9 w r l*
M
F
) / í i « • ' r i , i '.,, . , _
^ f i J a
Ji-J.-^. <m * * * í
i '
i -^*- ^ Middle
1 C
 RIGHT HAND NOTES: Míaaie dD, E, F, G

flight Hand
plays these notes:
Fingers l, 2,3,4,5
play C, D, E, F, G

The NOTE- READING Studies below co-relate notes, fingers, and piano keys.
Play them in two ways :
l - Play and say the letter - names of the notes as
you play; then play again and "talk-sing" the
letter-names as you play.
2 - Play and say the finger numbers (fingering)as
you play; then play again and "talk-sing" the
finger numbers.

"Setting Up Shop"
(Just a Small Stock)
STUDY I

,
~7\L
frn
Vyy j
I J 41• M
a i d 3 m> - \ G
! '
F E
** letter ~*"
«P -W- * tffl

names: C D E F G C . D E
4r
V
/

STUDY II
2 3 4 i 2 3 4 5 4 3 2 5 4 3 2
. 1
1 1
i j
j j
-dl» &
—J— «** jgj
^P —2»
«* ^
[
—3S
1 ^
C D E F C D E F G F E D
C \*
m*
f
•**"

A
Jr
i 2 3 4 5 4 3 2 1 3 S 3 1 3 2 1
^\_
I /^\> iX
í
|4I . ._ i
M
OF
J
9
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d tf ^s J
a? M -*
â
^ap. ^ m J
«* ^l
^

4V
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 TIME VALUES OF NOTES HOW TO COUNT TIME VALUES

r 1 count note
(quarter-note, l beat)
When count i ng aloud,s<y the counts, do
not sing them! Count evenly, in a short,

r 2 count note
(half-note, 2 beats)
detached, rhythmic way.
Counting in this way, you can be sure that

r
o - 4 count note
3 count note
(dotted half note, 3 beats) each note receives its exact time value.
Remember always that MELODY and
(whole-note, 4 faeats) RHYTHM are equally important.

Play SWEETLY SINGS THE DONKEY in five ways:

l - Play and name the notes as you play.
2- Play and say, or talk- sing, the finger numfaers. (In this piece: "onejonejone, two,three,
three," etc.)
3- Play and say the counts. (Read HOW TO COUNT TIME VALUES above.)
4- Play and sing, or talk-sing, the words (text) of the song.
5- Play and listen for a moderately soft, even quality of tone.
t-

Sweetly Sings the Donkey

Time f Old Round
Signature:
< 4 beats i 1 I
f/1_
<TS "*
r. i i i 1
in each
measure) vj/ 4
j .y. ^L ^L . * 1 J Ai A J
990 J J a
** -O-
Count: 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
Sweet "- ly sings the don - key, at the break of ciav;
í 1. K
» \" 4- -
/ e

• ny s 4 5. , 4 5 3 5
J / J J
1
|
"f"T> ,J /tf
\^J m
9 j»
«r 4B O €>

1 2 3 4 1 2 3 4 1 2 3 4 / 2 J 4
If you do not feed him, he will run a way ! . Hee -
H. °\
i"
/

fJ 2 S 2 5 1 S 1 5 1
A_ 1 i ,
-frt>
\^u ji
« d 1 ^
* i J
•*
ti ^" Ó- -é- -4-
í 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
aw 1 H,;e - aw? Hf ;e - aw! Hee-aw! Hee - aw?

f?

í»
M —1
8
IT IS NECESSÁKTTO tíSE-THE-^INGERING INDICATED, in order to make sound,
steady progress. Acquire ths habit of reading the finger numBer and the note at the same
time. (You will notice that finger-iags are not gávea as a rule when notes are adjacent as this is not neces -
*arj, bal alteraate notes or larger skips are usually fingered.)

PREPARATORY STUDIES FOR RIGHT HAND

Play the following Studies in four ways: (l) Say the letter- names as you
play; (2) Play and say, or talk-sing, the f inger numbers; (3) Count as you
play; (4) Play with special attention to tone quality.
STUDY I

P*Í
STUDY II

i f -0 f
STUDY III

STUDY IV
5

-«

STUDY V
1 3 5 3 1 3 5 5 3 5 3 1 3

i i
STUDY VI
m -40

Time ^,--~
Signa. ure: 5 4 2 3 5
( 3 beats
in each
measure) l l
COUKÍ : 1 2 3 1 2 3
z
i i i i m
Play the above studies many timesflearn to recognize the five notes, Middle C, D,E, F, G,quick-
ly> instantly. When you can read these five notes, and íhe five notes for the left hand, on the
bass staff on page 9, you will then understand the system of music writing- and you are well
on your way to reading and playing any note written!
 LEFT HAND NOTES: F, G, A,B, Middle G

Lcft Hand
plays thesenotes:
Fingersl,2,3,4,5
play C, B, A, G, F
*5 4 3 2 I

The note-reading studies below co-relate notes, fingers,and piano keys. Play them in two ways:

1- Play and say the letter-names of the notes as

you play. If the notes are within your vocal
range, then play again and talk-sing the let-
ter-names.
2- Play and say the finger numbers as you play.

"Some Stock for the Basement"

STUDY I (Just a Small Supply)

-é*) letter
námes: C B A G F C B ' A G "F G A B C

L\-i- T*"' f*
r p- "f~ rl» a> " á» • * rP f1*-
/ ' i 1 i ! '
1 2 3 4 5 l 2 3 . 4 5 4 3 2 1

STUDY II

"TL
ffTS
\\\J
t)
C B A G C B A G F G A B C E C G.

rif ^
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4» -.
» 9 v j» •* A

ir
1*
riA ~&-
'
v

1 2 3 4 1 2 3 4 5 4 3 2 1 2 1 4

7T
ffH
V-U

fcV i - "f" 1p - v » ^*
i™ a f
r\P » ii
/r ii iI I -p- -f-
2 3 4 3 2 4 l
10 j
PREPARAÍORY STUDIES FOR LEFT HAND
Play the following studies in four ways: (i) Play and name the notes.
(2) Play and say the f inger numbcrs. (3) Count as you play. (4) Play * - l count
and lisíen for evenness of tone.
_ B /"»
t- íS? - 2 counís
Hand
Position: S F=f=Ê íí?- - 3 counts
O - 4 counts

STUDY I
Time Signature

/L_ *"
uu 4
VCount: 1 2 3 4 1 2 3 4
C B A G
4V ^ 1
"f- p
1f
-
* ^^ " T*"
l ri* "Ti '
» *
riP 'i-^
y j-5
1- 4- r
1 2 3 4 3 1 4 1 2 1 4 3 2 1

STUDY II
o
y 4-A
/L
\íp 4
^ c
-x>- Á c
— A F
4 V/• •**
>5 «
r r •^ » CW

y ^ 1
^ "^
—

3 1 3

/yH
vvy
4»
» -p rj
4\
y/ • K
r
--, -,.
r
P
í

Merrily We Roll Along

(Play in four ways, as above.) Old Song

/{h /:
L^V -*

f^ Mer - ri - ly we roll a - long, Roll a - long, roll a - long,

,,-. ^» rj
A -*r

rí>
A jfffi
-4-V jí r ^ jf* V r 9 9
//• •*
A r
" 'í- ' j
3 4 5 4 3 3 i
• *

M e r - ri - ly we roll a - long, O'er the dark blue sea.

gm
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*~ ff_ * m ar ff-
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) OlJLNVJJLfC* MU 1 Ci i¥iJC.JUU i^ 4 fV/Jn. A W V/ JnUVi» LfO 11.
J

.1
In the first measure of SOIÍG OF THE ROAD, the left hand plays the melody; in the sec-
) ond and thírd measures the right hand takes the melody, which in the fourth measure passes
back to the left hand again When a melody passes from one hand to the other, themelody
line is usually indicated thiis:
Try to keep the melody cora necíetl and singtng throughout.

The Whole Rest "««" (íour-bcaí rest) is u$ed to indicate one whole measure of silence in any
kind of time: 7 •? or 7
4, 4 4.

Song of the Road

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t"1-4-
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4
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1 2 2 4

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LEFT HAND STUDY ( Bugie Boy)

^ft -^ ^
4
* i-V 4-
^ K
r r"*• * w " r —
^• 'v -^ ^
_<*• '
v ^ * ^1-"i I
1 3 5 3 5 * ' l 3 5

) -^" ^.^^ ^i» -^"

J i\
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\i * w
" í » fv
<J
f-»

J
1 3 5 5 i 5

•ar- B^ _>A jff . 9-

^ r í i^ j«» .—9» ^^ r^Í
4 "Y- jn» i jfl» ^^ W s
s ,/ i f 1

STUDY IN DOUBLE NOTES

Double notes should be sounded logether as one:
oy
X\-
*; !• 1B *^l
^*
3 4
j
3 4
11
3
_ f ......

\>\ 4- ^~
A
54
^-V fj ^~
V*
f^j
^—^
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-*•

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S*' X"'
p <? /ç» n_y
s? , >C
sC p -v
ík>
_t \ JT 1 ^ pi1 CY
r 4- i - ••
-^/ jj • 1
 12 PREPARÁTORY STUDY
(See Note on the Wholc Rest ("""") on previous page.)

F
ffn
vjy it-fí j
t
çj. ,-•
CS - gj. --
G
Count: 1 2 3 1 2 3 1 2 3 1 2 ) 1 2 3 1 2 3
_jn" /*>.'

4v f* * " G' r l* * " 1^' <?' T^"

r •í>» tr fr'* \1 K í íií i|
'
• l
fó'
fI
-^ * * 'o *
2 1 4 1 2 1 4

Spríng Song Traditional

Arr. by Leila Fletcher
(\ 3 5
yry «»«> l i,
uD 4- I tf « ^|. &
Gay, gay is the spring - - time,
tV 1
_X
X >5
4^

2 4

É9) : Ali
&
f
i '
1 *
a
-

-
j" '
- bout,
*
í

_l
the
"--..."""•--..
._ li -
*^

lacs
"^*

bloom;
"^ ' -«
4v pC?"• p'fí"• •• v•
J * 1
>" u i
4 1 3

f t i
1
J
1
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a m'
J
f 3w 5§

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>*••
Sweet

2
—

4
mel - o

—
- dy ring - -i n g ,

ff1
)
)
É Ali
l

J *
the
<C
world's in
f

J
t,.nl>
" " - -^"
--; "Tio.*
--^
f Lv ?• "í> •
\j*v^I-_j __ ^^ , -j^ ^ -••••r
f.
4 (the tie)

The TIE:
^sP ^.- The Tie is a curved line bet%veen two notes of the same letter -name, in the
-M: T f- same oosition on the staff. The tie is used to lengthen the note. Play the first
-<=-—. 1 1 note only, and hold it for the time vai ue of both notes.
 NEW HAND POSITION 13
> Play the following, giving special attention to the fingering. Notice that the 2nd finger is
on E:

y f.
yL * — ^. l
fitV « ^ ~ ^ ^• •Cf í x f*
•—* J <• • M

The half rest: -—-

(íufo-beat rest)
Some Folks Do Stephen Foster (Arr.)
(wards adapted)

~.\ \ /L i* f
f/T> « rf^fc j ^^
\-\J *&• tm
J -J — ^%
*- ' fi/
^ tfl

Some folks like to sigh, Some folks do, Some folks\;

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Oth - ers won - der

J
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HANDS TOGETHER STUDY

Treble and Bass notes that are to be played together, should sound at exactly the same instant,
noí one before the other. A very little practice here will add much to the poíish of your playing.
and will prevent the common error of left hand preceding right hand by a fracíion of a second.
When you play this HANDS TOGETHER study, listen carefulljr,andfeeltkat in playing both
hands move an e q uai distance tatuarás tke keyboard.

t
*^- -
K
**r ^n -i ,H 1*fí A ^ fl
C/ ^
Cf a a a a fl ^ A fl - f^

•f "T"! 0 « itf r
i r « jr~ ^"
P f3
t V ri i j
/r **•
f. ' ' 1 f 1
14
Good Nighty Ladies
College Song
Arr. by JLcila Fletcker

/( ** •• •
fm /í l
vy 4- ,,- -P» J
* £/•
Goo d - night";--... Ia - dies, Go od - night, Ia - dies,
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K •» v m ]A. .
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r •-- - f

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«•^ » <s* »^

Good - night, Ia - dies, We're going to leave you *** ..**» no w.

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fi* **
i

3 5
f\- 1 1 1 ! "' !
frn
VSy a *
rs>
_r ^ éJ ^i i J • £7
j * é •^ ^r-
& 9 fj

Mer - ri - ly we roll a - long, Roll a - long, rolí a - long,

-O-
*^ í(^ í?
N-*

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/ t

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7ÍL
fm K t !
^V- d * ff_ru _a
J
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& 9 & J
ar^
Me r - ri - ly we roll a - long, O'er the dark blue x •x sea.
*ÍF -*F

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 PREPARATORY STUDY
Thç quarter rest: \ - beat rest) f*

Count :í 2 3 l 2

That Easy Waltz

In this waltz, the left hand plays the melody and the right hand plays the accompaniment.
Play the melody wíth singing tone, and the accompaniment softly.

(só Leila Fletcher

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a f « xfl
5 m
m £ -^
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4 V *>
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-p"
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x}-
P * A «
r
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(melody)

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mm
fL " ff
f/H
v. \J
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j-* _.• /»->*
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f(T\ 1— f
t^ •— rfl
"V* S 5
rffB
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4V 'V- » 4J. B» j*
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f f^f
f
f L. L. U L» ^ dS eÁ i
dr^ 4ff^ tr* «•' S (^ "
•'• ! • -. • —
/o*
-*
i
j- v r^ * *^/ *

/ ^
(Tie)

This sign: means gradually softer.

16
Lightly Row
The half rest: --*-
(two-beat rest)
Traditional
Arr. by Leila Fletcher
s 3

i m **•
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í! m W ,-J
A!
i f
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tf C)
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•-' £? &
CV A
*/••'* mm
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S • y* • - -
fL.. L... .. . ••

.
TrK
uJ «
m J ^ ^l íí f1 m ar
©.
9 Cs
J - ^ -W- *
Smooth - ly glide, Smooth - ly glide, On the si - lent tide.
": ^ (J & -O-
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//' •-

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f/H
V-U J -J f rj
J é é él éJ ... «r
f jg ..Jffj ** *t
•— — « ^

Let íhe winds and wa-ters be Min - gled with our mel - o - dy;
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"//"
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a i af et
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J -&•
Sing and fioat, sing and float, In our lit - tle boat.
-O-
£. "\ T5^ f?; ^
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Notice that the piece on the following page begins with an incomplete measure— it be-
gins on the third beat of the measure. Notice also that the last measure of the piece hás
only two beats. When a piece begins with an incomplete measure, this beginning measure
is balanced by the last measure of the piece which contains only the beats not used in the
first measure.
) LEFT IíAND PI.AYS D A 1

> Sometirric s the Lêf t Hand plays Tt^ 4

t(Q A
Mí
1
~
the note E>,justABOVE MiddleC: , \^í "T j-y-4 ;

> In whichi case D iis written on *^ usually utritten kere:

> the Bass S»taff:
í (Pay sp<:c ial atterition to the •rv- j»
•j t= f,•» ••-» »•?• f- r -r f-
m* r i i r f - -t - f|^ j»r A
un_:
}
fingerin g O», A finger plays
\- 4- \t i . 1 . 1 i t 1 i
*
Middle C•t 5th fin^jer plays G.) S 4 S 2 1 3 2 . 1 2 3 4 S
>
! The RE PEAT SIGN
> Repeat dots (placed
•
} • before a heavybar)
}
mean playagainfrom
í
the beginning. La Raspa
Traditional
>
ft Arr. by Leila Fletcher
) 3
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— ~- -^ The PHRASE
Phrasing is punctuation in music. The musical phrase is indicated by a slur: •— -
Keep the notes under the slur connected and singing, and observe a slight break at thcend
of the phrase. Phrasing gives meaning to music, just as punctuation gives meaaing to
words. Begin now to think and play a phrase at a time.

- - N,£W NOTE: A
A on the treble staff:
C D E

"--, PREPARATORY STUDY

(change to
2nd finger)
1 2 3 4 3 4 Si . l

(E F G A)

i=pi
3
-*-

For He's a Jolly Good Fellow

College Song
Arr. by Lei Ia Fletcher

/n "-* i j '
j_
"\>p A—~j
_ __
1 -J _
/ "„
d + ^ 49 41
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(2nd
finger)
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20 THE DAMPER PEDAL

Soft pedal „ Damper pedal

(leftfoot) {right foot)

Many small pianos have only two pedais: the SOFT PEDAL on the íeft, and the DAMPER
PEDAL on the right,the center pedal (the Sostenuto Pedal) being omitted.
TEe DAMPER PEDAL: When the Damper Pedal is pressed down,the dampers are moved away
from the strings of the piano, causing the tone of any key that is played to be prolonged. When
the pedal is released, the dampers fali back against the strings again, damping their vibra-
tion and thereby stopping the sound.
Put the damper pedal down with the right foot; play a note or a chord; keep the pedal down
and take your hand off the keysj notice how the sound is held by the pedal. Release the pedal
and the sound ceases.
The SOFT PEDAL: When the Soft Pedal is depressed the tone is softer. (The pedal betiveen the
Damper pedal and the Soft pedal is called the Sostenuto Pedal. 11 is used only occasionally and
will be studied later.)
DAMPEB PEDAL Exercise: Place the sole of the right foot against the damper pedai,theheel
on the floor. Press the pedal down swiftly, hold it for a few seconds, then let the pedal up.
Keep the heel on~the floor, and keep the foot in contact utith the pedal só that the pedal will
not "bump" at the top of the release motion. Practise this until it becomes easy.

The Damper Pedal is indicated in this wa;jr.

press press chang
pedal i - i release pedal j .
down [T T |pedal down IT Ti ti
hold" pedal down hold up n hold up
The Damper Pedal is used
to sustain notes belonging
o
j' K
/V T| f
2 We shall learn other
effects which may be
to the same chord, thus \>'Lr *^r
obtained by the use
creating a full harmonic «J of the Damper Pedal
í• V /í
1- •*
effect. Play this example : S' q-
ÍL later.
1 6 3 1

When using the DAMPER PEDAL, folloiu pedal markings carefully. Remember that too little
pedal is better than too much! At the beginning, it is even more important to notice where you
let the pedal up than where you put it down!
NEW NOTE:

Waltz Song Traditional

Learn first without pedal, then add the pedal. Arrartged by Leila Fletcher

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(Sth finger
down to E)

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22.
The FLAT: GÍ>
The flat placed before a note
lowers the note a half - tone,
and we play the black key loiv-
er on the piano, to the lef t of
the white key.

College Song
Leila Fletcher

X_ 41 i = "T —T- C rr í jJiir Jir J» í "

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 "SettíngTJp" Exercises 23
(Nothing Strenuous)
NEW POSITION
for LEFT HAND:

(youre on your ou>n noui)

Whistle Tune
Old Song-

Old ROUnd (Squared Off)

( Frere Jacques)
Traditional
24
The JÇALE_jof C MAJORA
In scale playing, the thumb moves freely under the fingers, close to the surface of the keys
and npt drawn up in a cramped position towards the palm of the hand; the wrist is flexible,
the arm moves smoothly and freely.
Right Hand: (descending)
* l 2 5 4 3. 2
x_
iVH
,1 •
J
m i» '"F
w r i! f*
1 *
r J
• « . ii ,i i•
Uu J <• * ^
* I I ! • a _í í
tJ J. * * ' 1 l * * -*t

Left Hand: __
i -— ^ r~" ~^" t
tv f /• 9 l rp * " 4»
Ar *J « F
r r i ' 1 f •
r* -*..-
J
.

The Major Scale is a series, of eight notes in alphabetical order, beginning and ending with the
same letter name. For example, the above Scale of C Major: C, D, E, F, G, A., B, C.
Each major scale is named by the note it begins on,and this note is called the Key-note,orTonic.
The CHORD of C MAJOR
The
. Ist,. 3rd,
_, and
, « 5th
. - . notes
- « . of the scale, C- E-G. ,_From „C to„C .is eight
. , „ notes— an octave:
form the Chord of C Major:
A . _ _" 5 s,
/L. i *-» r^,
ím
V>\ fé *
a rf~fc.
5JJ _•*
t) -é- * "^*"*" ~^~ an
(broken chord) (broken chord) (G to Ç) an (C to C) octave
i octave -&- -&-
iV ,, : * 4 t
r / a
J *
«J
4 ^
^
á^-' ^J
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-. ' "= 5 3 1
*
3 5 1 i
SCALE STUDY
Right Hand:

i» ij
r u» J
S\. t» . j j J ^" Tsri-
ífu A
viv ^t- J « ^'
J ^ • dB * r l r *
tJ -W- * <* ' ' 1 i * «f

Left Hand : ,
i _ M -^* |
fe ^" ^í í S ^í í^ p^
._)_ ^ i:p_P_p_J- &? &
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1 2 '4
-^~

DOUBLE NOTE STUDY FOR LEF1' HAND

n a ~ p w
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 25

O How Lovely Is the Evening

Old Round
Arranged by Leita Fletcher

0 1 ^~- • * 4 ' — ^
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™'X^
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^ f\>v/
m •*Pí. ji 11 r; r^ « J l
t) -J- * ^ -W- ^
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O- how love - ly is the eve - ning,
) /r)
6V *1 1r>- P 1J *

^ r •»/ J5 "• —t^ K/«

't
s

á
A 4 ^_— ^ f x^ 3 i 2 ^-v^
_Jr JL , ,— 1 ^^^. f

Kg) J j
J J J i «1

is the eve - ning, When the bells are

i
f \ "^^ *^j *
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A I"TÍÍ 4 ~~~~^\
^»- ^-^^ 4 • ~--^.
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J a J J 49 J
\ VA *^ w •" a 0 & j
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sweet - ly ring - ing, Sweet - ly ring - ing,
4 V1.
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26—
RIGHT HAND PLAYS B below Middle C $~\.Ti
4*
,
1
,
t
I
Sometimes the Right Hand plays the •J C^ B J-
note B, just BELOW Middle C, in which usually written kere : ^,
case B is written on the Treble Staff : 4V •"'
^f /*

(Polly Wolly Doodle)

f\F 1 --"""'" í 1 3 ^~~~"*\ 3 --s^ 1
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4l ^r f i i i
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ar
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* 9 -é -é * ~ -* -* ft ^~
"CS^
B

CHORD STtJDY
5 5 5
1 3 5 f 1 4 5 f 2 3 4
1 1 l
O
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A i íi 1
Wf /" i í
ai!
l
•>• *- • ^-j» <!**" ^^" "^- .-*" *
4- W ^ x•- \ .* sz~ r • ^ • f^é ~* • ' ****<r "* ^ •
-*- ° -»•• -J- -à . •»• -& . •»' -»••

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5 '3 1 li 5 2 1 1 il 1 "1
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Snatch from a Symphony

1 ^^ 3^ 5, ^^ 4^ 2 T^\
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El * i l l j f i \1 •' J J
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Hay-dn wrote a sym-phon - y, — But it was íoo long, youX see; —
\ ^

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f \ f\\* L/
I a a a
-^- -W-l •» a
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So we took a note or two,— Just a lit - tle "piece" for you !
o« ^ . .íV* /^'
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3 2 3
 The Eighth Note: K Ten Little Indians
{two-to-a-beat) *
Traditional
Two eighth- notes equal
one quarter- note:
«h J > )= J (Ibeat)
In groups, the stems of
t?t)•)S4-i -*-iI -*-T"H
\ i I I1
-m- -*- ~m- -m-
f""
1 "1t —
*
Í —i
* «JL
1—
eighth-notes are usually
joined: One lit-tle, two lit-tle, three lit - tle In - dians,
•p l" J! ff \ f —
J~~3 = j (l beat) > r r. 9
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Four lit-tle, five lit-tle, Sev'n lit-tle, eight lit-tle,

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Skip to My Lou
Mountain Dance Tune

v p' . i . "^ ^x '

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Choose your part-ners, skip to my Lou, Choose your part-ners, skip to my Lou,
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Choose your part-ners, skip to my Lou, Skip to my Lou, my dar - lin'.

L "V- C_, > «* j^fj <~fj \
* 1- *•*! c\. í #
/ *» 4> .... _è K
28

The SHARP •J
The sharp placed before a
note raises the note a half-
•
tone, and we play the black
key higker on the piano,to
the right of the white

PREPARATORY EXERCI SE
Second finger cresses over thumb:
*-*-*£ wr ' ÇJ
rJ -<*> Cl
SJ fí
4- 1 r
í
1 2 1 2 '3 5 14 1 5

Drifting
Leila Fletcher
s
3

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n « ^^ .e? -•vf5*
"f J e* S "
'
m *• /

JL >pi •L tf_

tf m tf
/f KM
—*"—*^L" í
/\
tf K
í
tf ^
f^t
^s
03*1
]/
r

_ JT
i y
x

C
c
i i l t
I z i s
i
i { J*

jj tf
} li 'fj í
• fj W ff
•*» *fÀ
T i.
•19
1

•f-
c 1 -m-
K
-&:
K ,
-p
X
-«-
K ,
f»
f\j\ \J
i.
^ V v W
l r- 9 ^
í i ^J v

E
S

c
f
 -,
•^^_^- ,_
- ^-___
i - —^
N
(30 A DOT beside a note lengikens the duration of the note by one-half its time value. In other
*5
words, the dot adds the time value of the next smallernote. For example: ^
*=
£?. = ^j and 4 (3 beats) fe'
É"
jj. = J and 4' ( 1^ beats)
É'
PREPARATORY STUDY ^
Play the following Study and count in a short, detached, rhyíhmic way as you play. (Notice f£
that in the Study, the word "and" is shortened to "n'" as there is often a tendency to drag or ^
prolong the word "and", and in so'doing to lose the rhythmic beat !) In counting the Study, fe~"
emphasize the beats and let the eighth-note fali into place between beats. ^JF
A 3 51 2 41 1 CP
y i
X_ **
s) 1
f/K K
U V/ 4 ^- d ' i ,
n
k
J ' cm H- tf
t) * V <V
-J- •+•' * * -»••
* Count: 1 2 «• J 2 «' J 1 2 n' 3 / 2 3 í
i i
i\- n » «
P •
~ J m
r jt•» **
J M

j
jr/ f^. *^
S 1
i'3r «n*
5
1
'2
:
1
*
5
ir r j- '^
'gg*
\
ff
W
Believe Me, If AU Those Endearing Young Charms Ç
Learn first without pedal, giving special attention to the melody — keep the melody connected m*
and singing. Then add the pedal, being careful to folloiv the pedal marks. In the 4th measure *4^
of each phrase release the pedal on count ttuo. ''&&

- .- . , Thomas Moore ,**

Arr. by Leila Fletcher m*

t t
4-
*S^~

*J

Be
r _,
"j
J

-
1

lie\réV me
Q
nk
_!'
(» _^i

i*\»
if **
\• ai]
f
1 2

4B
i
*.
Jv
thoseC í;n - dear - ing young
*-1

*r

<i'~
X-
-~
—
_ 3Qi
« J
t ^^^"*-
5

r<»
i
\r—i
("V

i
charms, Which I
~*~ ~_
"~~~- ^* iX \
W
«r J
^
I
~^ ,w"
£^S
'^fc^
v*

'?
,-*«*
j^^C

rj
J Pi r f* J< r YJ *
^,
^^~f-
-mjtf

s
-*• «4- |
Í3 '2 '3 \ - - i —-, , —•
S S 2 '
• - l - ;5 - •

A 2 1 3 2 ^\" ~-~^
Jr 1 ^~ ^^^
r\ 1 \(n W* J ' j P J ^I ! *£^^

l J n1f 1
W ^if
j^S
«T * ~w*~
/fl 9 •^~^ -W-* * -0*
gaze on só fond - ly to day , Were to change by to - •:«f
^~- -^
41" / ,'j- •- ^fc*
X ""
^-, • jfl»
> S* ^
1:
J i*
r"
rj
J
***"'
J " \* p*
r '
~" 5Í
fir*
^ie
l 2 \ , '3 '
3 |5 f
,5 ,

In sor.g nmsin. when -vit íj«•".sbíe i> S'.!;- t n t '•V«"> O " I7sr»í«- r. o '.T"1:, ^^n,,,^,,^,, ,,,..,.„„,,,,,,, S
<i, ,, . "•-••• • - > • ••'-" ,.«!
 [V =j i 1 - FT^—«n—
i
2 S

mor - row and. fleet in my arms, Like fair - y gifts

%
^- i 1
i "~ —• ^f
^JL
ií :
n
\. •
1
.=*
2 l 1 2 5

(f<j L[l
r
r
K
J -tf-'D •»J
»•
—
.* ^-&-
i*
m
lr
__

«*l

fad - ing a way. Tht>u would'st still be a dored, as this

-——
^ C
r — J-"' "~~~~-~ _

—
-tf-
^ p=
1 lá
,5
\
1
3
,5
f
-F '

1 3

/L J 11« l/v W J rs i
fm
\M/ * m
* 0 «r! / -, i
9í J
^

ti I ^
^ m
,mo - ment thou art, Let thy love - li - ness fade as it
'" .^^•^*--—' " , ^
4V Cri' ^n \ í ^-\
t'
/ P
KJ- *j r^ iP'" iV
íí. h-c^ _J^- [ : MT
—1
.5

1 2 4 1 3 5

TH
fn>
1 ~"—T ' —i Rn íiV ~ J
e p*
r
ti -—-.
« ^
^—**
a J
-W-- J*
* -tf- •— l
will; And a - round the dear ru - in each wish of my
^ *—
—-^p^ — /y'*^ — -
' *• ^ *
^
-k 1f" M '
_PI — v-~^_ ^^
,5

^v
o
-^ [ .— é- ""tf"7 ^ "^-
•«^.
—à
heart Would en - twine it self ver - dant - ly st í n
"•*-

l"7 —f" ^ 1
rj-
í.
í-*1
=j= M^ fj
'^*-^- =-f —B
 32
The SCALE of G MAJOR
G Major Scale hás l sharp: FJf
2. s
tt- BP _ ^_ ^ »
/L'
f>H a J
~ r* F
! " 1 r * M u tÊ!
VV7 m » " '|j W
tJ I ' i 1 .
«
, 1
6y • 1 J •Éã
B, j-
. m' a
9 ** .
álfe ^"
rIp —. _j
• a^ u - --
V
«:
5 4 3 2 1 's 21 2 '3 1 2* 3 4 T ^
••*<

O/ \ V ~~A PREPARATORY STUDY

Practise this Study hands separately, then hands together. »

f:
G Major g £
A í01? ti f l. 3 s 3 2, s i.
i l*i f\ f^i * ar* <» í1 /* -, i
í
fi, €
-:^
m
«rj1
^^t *~W~ i *~Jt
f/%\ *•*
H a r r ^ g} rJ o
\ V/ *HÉ~ ** *-* 1 1 m
4V /s
f^r1 \r > ,-jp -O
** fí * i*r rIí* I*t f Ho J» !*t .^>.
"r 1'
-.-<•. _^- .*-
ff ! Wiír
pr L- - n
«l
€
•1- *
y j? f1 í 1 ff'.' 1 ' tfr" Ê
\^ 4- , T ' 1 1 1 :^í

3 2 3 5 3 1 3 5 2 1 2 3 1 *Z 1 3 <S
5 . , 5 5 5 5 5 .
€

Alpine Song *
(STUDY IN G MAJOR) S
T -. ^ 'f,
f) *
-^"ir 3i 4 5 1 5 4^x3 1 ^ —^—-~-\ ^^T~~~^v. i _
C
ÍT
Xl
1 í i ^ j*S
^"~
íf
1
1 |u
4
1
m \
r*9

r ** a J
j
I
|
I I » •&1 j!
r r *'
« Jl
r * ia J g
VSi^ ^i~ .j J J ^
Cl ."if <PJ nH* & 9 9 i tf 1 1 «r I ar
c
4" V % \ * c. iií9"
fí n
í?*
K'' \f ^ >o
/ *1É~
« ^ P r
•"^
i3 1 "1
i15 '1
1 2 3 2

fi
y
---"~~~3
— '—"~~ \
1 * 5 S ^7\ - s^~*~ ~^~\T
\^
2^T^\
fi
T_ J 1 ^
ÉtJ T\ JE u J a^ J1 i J* A
r w jfl r A «J
ffJ
r^ " * d lie
na \ 1 •" itt'

* ff é é * l

-6 v ffff V
o-- &•
r-s-
/í- ^ i*- -•
_^-^ !^
-y- rt I
P

;
r L jr ' 1
l 's . 1
2
Í5 1 Is i2 l* -

3 3
€
', S

The notes of a scale considered collectively are called a KEY, só that a musical composi- -:1
tion is said to be " in the Key of G Major" (not "in the Scale of G Major")— "in the
Key of C Major "etc.
The above Study is in the Key of G Major; G Major hás one sharp, FJf . In the Study
the sharp is printed before the note F every time this note appears. (í
The usual method, however, is to use the KEY SIGNATURE to indicate the sharps or t<
flats in a piece, as shown on the following page.
(.4

f
]j. .. ' .1
 The KEY SIGNATURE
The Sharp placed on line F, just after the treble clef and after the
bass clef, indicates that the note F is to be played F sharp through-
m- out the piece. This sharp placed at the beginning of the piece is cal! -
ed the Key Signature.
= The YELLOW ROSE OF TEXAS is in the Kéy of G Major; the Key
m: Signature is one sharp — F sharp.

The Yellow Rose of Texas

Traditional
Key Signature Arr. by JLeila Fletcher
A Í 2
. j*
/L
fm
VSLJ
ti
' •"*-
K
* Jr
r

-*:
T i/
J
m
i
J
m
i
J
m
i
g -+
\
f
J
m
m m r
1
j<?*
r^ "
t
There's a X yel-low rose in Tex-as, I'niN go,~'ing there to see, I
n ^ff'' £?' '«' f?'
4V
f • n*t 4-
A -u> f* \ f rv- v m \ f Y-*" \—
f—
y '. A x f -. 1-
f
f- f f
(wiíhout pedal)

f\_
("V
m
" j*
r''
I f 4t a J m fj> \F l
Jl Jl ir
P u * m a
* ~ r
í 1
« J - that
hope r she
í is- wait - ing, Still wait - íng there for me; She\
"f9""
í V ff n •"" •• • \
// • f iif *-* f
f ©,1 ^ ' T~

l 3,

t
jl i t
f
f^ I I ! í J' -*j" 1
t i l a
*
J
J- 9 r J
* c) ^l 4P 1 *
"•-.*» cried,-''
*
só when I left her, It"\ likeX to broke my heart And
4 V *í
.. ^ '
É3P v J' \ V
•f*
1 •*
1 —
5?"
e^- \ f
//• n
" A
/ — r^ «s.. ! *\L ' i

f\ ym r r r
jM

r
—

K
' —- "

* d
|
r
-r j*
*
J
J J ^"
«J » ' ' ' i i a» i
if I ev - er íind her, We nev - er - more will part.

t\ tt
tt
1' ff
tf-i
0 1 ^O
r
k? r"
\ ir jj
/r?*
^^ *
1
The NATURAL : tj The Natural carteeis the sharp or ,f lat.

The ACCIDENTAL:
A Sharp, Fiat, or Natural which does not belong to the Key Signature is called an acci-
dental.
In the second measure of this piece there are two accidentals— the sharp on the note A in
the right hand, and the sharp on the note C in the left hand. The accidental is cancelled by
the bar line at the end of the measure in which it appears. In the eighth measure of this
piece, the natural placed before the note C is only a reminder that C is to be played C
natural here, the sharp accidental in the previous measure being cancelled at the bar line.

Our School Will Shine Tonight

Traditional
In song style Arr. by Leila Fletcher

—2n
\(D
"—*f
r/
4. j
i 1
j*
4»
f rt •
jr
5i K
£/ J
<* J
g
-- «t c) 1 i «j»
«J Our school will shine to night, Our school will shine,

íV • e" f-"
I
ír f-
f1 i
' r '
C. 9
—-^ ^—
-^
.5 ,5

>5_
f/n f J
^» *
r 2 ' rtK J
a rj a»
P %. ~W
C»
"r
•J . «J f
£/ i i \t down íhe
Our school will shine to night, linej
T! í? f"* f1
4 V ti
/' ÍT
*• 1 D
i/ i „
/ ''
,5

y0 wti
X_ "
l 3 5 v
r\* Í J ' /5-
j
4, , 1
i
2
1
2
-"
fft\- U J <J
GP
^ T« p ar A w j 4&P
í l
Our school will shine to night> Our school wiil shine, When the
-F-' %-r -o-
4V n
., O
**
.
[) \f- 41

/T í! j
n j
f/K .. e,
-tftt i^Tr
9 _- ^, d x. r r 0
-r " «r jp( — «r CP
•* ^ 1 1
s>un goes down, and the moon comes up, Our school will shine.
42. --^
u "P" ^ "í
j 5" í^5 11
4v M
-Tl- n 1 j«r i
^/ I! i r _
 r
The KEY SIGNATURE

This piece is in the Key of C Major; the Key Signature is no sharps

nor fiais.
*4í-
"i

Camptown Races
Stephen Foster
Lively ATT. by Leila Fletcher

ê 3 1 3 4, 3. 1 2 3
\ ! f \
*-f-
K
Q.- ^
«" — J J * ,J f l — f M
* " a a 9
40
m J a m
c
J
* The Camp-town Ia - dies sing this song, Doo - dah ! doo - dah ! The
-o- H»- _ (Ç>
<í V ti \ 1- «25»
•** > f ?
«f
,«-rv
/ f, £, 1

^i _j / i i ••
f/T\
U\ «i
« 4fi * a
a
f - .
A i
& * «--..
Camp-town race track five miles long, Oh ! doo - dah "!' •\day:
-e^- H8»- O -O-
4
*Vf- 4?
it «V*
y
2
,4

3
1 .
4
0
3t
. I \ \
••
/d' f s- ' f
f y•
€)
Going to run ali night ! Going to run ali day! rn
f"' _^A
* -
4V ! k
P* tf \ 49 *
r 49
n r "J- w
n
/r J
a>- J ' r^ - -
a 1 f y
/• «i.j,.% .s Z Z 1 2 1

-
*^
t —-
Ç-£

bet my mon-ey on the

'
§
bob - tail nag,
ClM
~cr
Some - bod - y bet on the
v
S~ *
*
*r •
bay.
4\ i* itfr~~~~~ w *x - ji
yJ" ri? fJ jrilt
r rf^ 9
rf m
r rí*
 36 —-— - ——
The SCALE of F MAJOR
The Scale of F Major hás 1 flat: B b S
(Notice lhe irregular scale fingering in the right hand. This is to ensure smoothness an d C
l
a connected, singing tone.)

A l 2 3 4 1 2 3 4 3 2 1 * 4 3 2 1
U
j? ji 1
t a m ra w a \f l i
J U— Sdf

ifh
\5u m- W
m * pír " !j i' íi rl vri ~ W * Ê?
•r
ti ' ' ' l i

il t t i C _
iv i « I «3
/r J
\r
0T
P
*3
a u j-1 \
« P
i
rl l'l
rí r
í'3
^ bj» —' <•4 J^ ^P«
* 2 1 '3 '2 '2 1 2 3
5• * • 5

rx w M . STUDY in F MAJOR
F Major
| / chord 1 1
fl -5!^ 1 1 1 5 4 5 3 , 5 2 , 5 1 3 , 5 3 , 1
J >. y K '*t f^Á\ ' dv 1 í i , Cl
jt^ ^r i% ^^ n^ 4! W 4Í9 « .^ £} \ | f 4V | _
C^
TuV-S- ^ '1 F i 1 \ l ura ^L
."*«) " • rf I 1 1 í í l
i\- n
•1. 4-
•g- !>^[S^
*5
S? >7
-g-
5-2
«J p
-f- k p -p-
I r l
a
r
T*-
*
"'-p-
n
<B ~P~ m
* » r í r «
**
í
ji /*
" K i i i i'r ' í ' í *' 5
£-
W

i'
f_f*

*3 2 3 5 1 2 1 3 1 4 1 5 3 1 3
5 5 5

SCALE STUDY €
•; 0 * i ! 5 l i 1 2 3 ! 4 * 2 s « &
Í^
;
" vS L/ '^~ JSP '"^ i f ^ ^^ *^ j { j ^*
mf

**
6 \ jlí 5m «U
r
^
f B* *4~ **_^ ^ ^ ^J5* t«g
£_
Jr >í - - ' " . . • •
3 2 3
5 5 5

í
0 V* 3
á» i
* ;» —, ' j 4 l : JC
>,
f/-\ f/p «*• J r F bj» J &
!r
*
V-l/ W «» 4»
:| •t* í ' 1 ...... ^
if

ttfV^"- b«0- -ft-' ^

i1 £. "%*
1»
tf Y tf W
-.
•£ "^ "«%
**^ ^^2 —"_iJr^
€
2
4 €

i
:! , - ' . .
.
 The KEY SIGNATURE
The Flat placed on line B, just after the treble clef and after the bass
É clef, indicates that the note B is to be played B flat throughout the
piece. This flat placed at the beginning of the piece is called the Key
Signature.
AURA LEE is in the Key of F Major; the Key Signature is oneflat — B flat.

Aura Lee
Key Signature George Poulton
Arr. by Leila Fletcher
f) t 1 3 4 1 4, 3
JT 1 Pi í I
/L h •* f i
í J d J
11
F/T\ «
viu 4 a 0 m —
^^
*
* m - tf ^
€Í -<-
As íhe black-bird in the spring, Neath the wil - low tree
<~> r>
4
*VJ- , A
^t f?
*-* e, 5-t
^Jp
--/ hp >5
4. í tf ~\ 5

,3 ,3 1 |

í) i *
j/ 3 4,
(
1 , 3

/L b í i
f fà y ^1
«P W
•r i /-7
0
* a J a 4»
^ «P * 4P *.
Sat and piped, I .heard him sing, Sing of Au - rã Lee.
,_ <->
4 /*
V í" . -
©, 5-c
%_jí
! 4; ^
./ fj
l
.3 .3

3. l 3.

/T L
f<TS ™
VSl/
«•
»•
J JJ
0 fl j
«• ^}
41
ri .J
«» J
^ «r
•» • «»
O-
Au - rã Lee, Au - rã Lee, Maid wiíh gold - en hair,
-O- JGL
tf-»-
í* UP •K
2. \ xr^.

y u
* K O

,5 .j t-

/L b
//K
\s\)™ "" <»J
y
J
« W
* J
et —
* í j-
^ jarn' »
l
«
J
A
-í
4
* . «t
«V
Sun-shine carne a long wiíh thee, And swal-lows in the air.

tvf" !
u -~
f-
P
r t
f"
i - hrt
T^
i
41»
rj 1 i
M »
%-^

/ k ' '
 The TIME SI GN ATURE C is sometimes use'3 in place of j| and indicates
COMMON TIME — Time.

The PAUSE: <CN

The Pause is a mark of expression. Hold the note só marked longer than its actual time
value - at the discretion of the performer.

In the twelfth measure, change from finger 2 to finger 3 ( 2 3 ) while holding the note E só
that the tone is sustained. Play the harmony notes, B flat and C sharp, softly.

Long, Long Ago

Thomas Bayíey
_ . Arranged by Leila Fletcher
In song: style
yf/rvn t*U i
/\_ i i
? 2 3 f 5l

l
4 . ?

V^y J j"" , A m'

& a rf^tk
m\_^- ^l 4 \*r
4^
Tell me the tales that to me were só
l 1 i
ít'\' jA 1 • l B • «• rj v
Jf- U
/* ff . v

al fff » \
w r
1* P ^ r
1* r i " r
^
/k J j
ífil r' l
Vvy " 9
t) 3 a

& f^
j -^
w 4?

iV
Lo
^ ^*
an

jf» v
Long,
'^
long a
i<^
crn;

9
^
P
x ^ !
40
r 1^ 2 p. '
r 'd®'-
f*'
' 4 1 '4 1

(
j s

/L . J
ff*\- L/
•
fí ^^
C» -W- ***
J o^^-, ^*_r £|

&
—-
*-<* * « X' ^

hpnr b"^ -
Sing me the sonffs I de* _ lip ht - ed to
i i | |
4V 9 ^M f 9 " /it
,//' ff
W r
i* r J
W a já
r . • P
í- 01 rí
3 1 '3 S i 5 1 4

ê
*%
:|r
y %^L }
0 s
zc—L j
2
i
T
3
l
j r :
V

J5^^ ^ 4fe— <s J i j sk--p

^ 3 ^ ". J «N- Long, ]long
'
a -
4
go,
.-&.
long
*
a -
-0~
pó
— JÍ*"
^ J^^^ ^ \" *•—3k ^
^•S^^by >» Ç\* ir- P m fj m r>
L.
pp
jfl
^rãS^^I
^ —-—"-|^5 *••»
r * 1-
/
^
P I
II
r i
1f
ff
%*> r1» •
ai -
i
^ JMS$ .
^
!* »
i
1 K l
1
\3
,s
'

>E
t

1
í

^fe^^^J
^"f ^~^
jjfl
-^

—
) fj^\
A
^f \
ff»
s
4

^H
v
T

T^
» A
Jf IP
^™
v

^
i
* ^] ™
A
^™
K
f
r-
3
1 .

1
; \>\>f ^B ™
s- " W"
^^ff^J -^
| .
-á. -»•
k 5^~i \ -f"®")
Now jifou are come, ali my grief is ré - mnverl 3

(melody)
PP Ijp^ff^L
fiV r^ tfr • i ^~ -^
i-^JmJ- of-J
/J* f"' P j-D l r^ P ^ «» * * i
&f "^^ "\ ™ ^p* \" JÍK^S-^% •%

i i! r
d Wi I r
L jLg~
-^
i
i .» 3 (!M f "^ !» :» ' 5 Cío/e/^;
^y
ífc> 0
. 5
1> .
3
fc ^i ^B* Jp
-^*^5^^5 ^\" ^^ ^^
\ ^M
v
« •.«
* ^^ \"
>
.... i
TV'» ^
Vv 7 ^ « •*
» ™
i
^1 P'
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40
HOW CHQRDS ARE FORMED
The piano keyboard hás seven white keys and five black keys. A CHORD can bé formed (built)
on any one of these twelve keys of the piano keyboard.

Chords are built UPWARDS IN 3RDS — in other words, by skipping one key each time we
a«3d a note to the chord.
A chord is identified (named) by the note it is built on. A chord built on C is called the
Chord of C, or the C Chord. C is the ROOT of the CHORD.
The CHORD OF C

On the keyboard illustrated above, a chord is built on C. The notes of the chord are C, E, G.
We begin on C and build upwards in 3rds. The interval from C to E is a 3rd because it in-
ciudes 3 notes: C, D, E, (3 piano keys, 3 letter-names). The interval from E to G is a 3rdj
it includes 3 notes: E, F, G, (3 piano keys, 3 letter-names).

CHORD BUILDING
Wjth the Right Hand, find and play the Chord of C on the treble part of the piano keyboard.
Use fíngers 1,3,5. The notes may be played first separately, C-E-G, and then together, ali
the notes sounding at exactly the same time.

With the Left Hand, find and play the Chord of C on the bass part of the keyboard. Use fin-
gers 5,3, 1. The notes may- be played first separately, C-E-G, and then together.
***-•-
Using only the white keys on the piano keyboard, build a chord on D, on E, on F, on G, on A,
on B. (Remember to build upwards, in 3rds, and to use white-''keys only.)

The chords built in this way, using only the white piano keys, do not ali have the sarae tonal
qualities. The Chords of C, of F, and of G, are MAJOR CHORDS. The Chords of D, of E, and
of A, are Minor Chords. The Chord built on B is a Diminished Chord. This will be discussed
more fully later. For the present, it is interesting and useful to compare the difference in the
effect (the sound) of the major chord and íhe mínor chord: play the major chords of C, of F,
and of G; ,then play the minor chords of D, of E, and of Ai.

CHORDS IN THE KEY OF C MAJOR

Key Signaíure: no sharps, nor fiais

—o— s
major m i nor minor major major minor diminished
chord chord chord chord chord chord chord
 41
The Drunken Sailor
The sea shanty is a sailors' work song. Very often the inany verses of the song were sung as
a solo, while ali joined in the chorus, working as a group.
In the shanty presented here, the D Minor chord and the C Major chord are used as accom-
paniment. The melody in the solo part is played by the Left Hand while the Right Hand plays
the simple chord accompaniment, using the two chords (D Minor and C Major) almost through-
out. In the chorus, the Right Hand takes the melody and the Left Hand the accompaniment,
> using the same chords as in the solo accompaniment but arranged in a different way.
'} TAís Sea Shanty is in the Key of D Minor. (Minor keys will be taken up in Book Two of this
series.) Notice that the song begins and ends with the chord of D Minor.
Sea Shanty
s Arranged by Leila Fletcher
1 3

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What shall we do with the drunk-en sail-or, ÍVhat shall we do with the drunk-en sail-or,
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What shall we do with the drunk-en sail-or, Ear-lye in the morn - ing.
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Changing fingers on the note A in this measure is an example of a device often used on a repeated note: hereit is
used to change easily from finger 5 to finger 2, to that the succession of notes, a,b,c, d, which foltows.may be
fingered smoothly to preserve a good legato melody.
42 THE PIANO KEYBOARD IS ARRANGED IN HALF-STEPS
(HALF - TONES)

ALL are Half-Steps (Haif-Tones)

The PIANO KEYBOARD is arranged in HALF-STEPS. ( H a l f - s t e p s are also called
half - tones, or semi-tones.)
Begin at Middle C and play upwards (or downwards) playing every key, not missing any, black
or white, as sho%vn on the diagram above, and you are playing half-steps, (half-tones).

THE CHROMATIC SCALE IS ALL HALF-TONES

The CHROMATIC SCALE IS A SERIES OF HALF-TONES.
The Chromatic Scale can begin on any note. Here the scale begins on D:

Right Hand (ascending)

l 3 1 2 3 1 . 3 1 . 3 . 1 2 3 1
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WHOLE-STEPS (WHOLE-TONES)
TWO HALF-STEPS make a WHOLE - STEP (or WHOLE- TONE). To play a whole-step,
just skip one key— either a white piano key or a black piano key. From C to D on the piano is
a whole-step— we skip a black key; from E to F SHARP is a whole-step— we skip a white key.
 EASY READING!
The PIANO KEYBOARD tells you TH&-N?tMEof AWf~NOTE,and WHERE TO PLAY
IT on the kcyboard !
NOTE READING IS EASY WHEN YOU ASSOCIATE THE LINE NOTES and LINE KEYS.
The diagram below shows the relation between the LINE NOTES on the music and the LINE
KEYS on the piano keyboard: , Ttpwards

Treble
lines:

Bass
lines:

J
-\

Bass line keys •*• >- Treble line keys

?OR FAST, EASY NOTE READING, MEMORIZE THE LINE-KEYS ON THE PIANO
XEYBOARD! *''
Play and say the letter- names of the LINE KEYS
from Middle C UPWARDS: Middle C, E-G-B-D-F.
Play and say the letter- names of the LINE KEYS
from Middle C DOWNWARDS: Midile C, A-F-D-B-G.
Do this several time each day, and speed up your note reading!
()
When you-have memorizèd the LINE- NOTES, you will automatically know the SPACE-NOTES,
jy.thêir position between the lines.
T,after the Bass line-keyshavebeeji learned downwards,memorize them upwards aí wtll: G-B-D-F-A, Middle C.
On the Treble Staff, the four SPACE
NOTES happen to spell the word TTC.
«face": )
On the Bass Staff, the four SPACE Chord of C )
NOTES form the CHORD OF C,
with the note "A" below the chord:
•*¥. *-» n
»» «
•—n—
(C-E-G)

The DAMPER PEDAL

Che Damper Pedal is used to connect tones, making them legato. (Legato means smoothly
j onnected, no perceptible break between the notes.)
'ractise this example using directions given below the example:
'}
A play, pedal play.pedaí play, pedal play,pedal
*3 rív^ /V
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edal : i A A A A A A i

, "ut the Damper Pedal down and play the first chord} keep the pedal down and play the
^ econd chord, then, wkile the hand remains on the keys to hold the tone, change the pedal in -
' lantly— Up, Down. Then play the next chord, change the pedal, and só on. Say to your-
; ilf: «play, pedal play, pedal".
 A small dot di^t^-a£avç.<£:.&«/guUt2çji0te^ •( j» •_) indicates that the note is to be played
staccato — detached, the opposite to the legaío touch. In the 7th and Sth measures of this
piece, the descenâing scale passage is marked staccato. These staccato notes should be light,
detached — let each key up as soon as it is soundeà só that a brief silence is heard after
each note.

Galop
IM -V C A i\i} Jacques Offenbach
T, . , p. Arranged by Leila Fletcher
Fairlj fast 4
A 11 1 1 ' !- 1 l 5 4 4 2 3
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 ;
) ) The Time Signature « is oíten useà in church xnusic — two beats to a measure, ançj
) . »
) a. half-note (o) receives one beat.
> )

Sof tly Now the Light of Day

Use the pedal as directed on page 44, to connect the tones and keep the melody smoothly singing.

George W. Doane C. M. vori Weber

Arranged by Leila Fletcher

32 45
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l , wavécTTínê~beside a chord means that the chord is to be played
arpeggio— in harp style: place the hands over the notes of the
chord, and beginning with the lowest note,play upwards rapidly,one
note after another; hold e&ch note as it is played só that the com-

i plete chora sounds for its full time value. If the notes of the chord
are spread só that they cannot ali be held by the hands, use the ped-
al to sustain the tone.

PREPARATORY STUDY FOR LEFT HAttD

jEg r f f ir f feEff
* * L l' ' l l' 'CT
On Top of Old Smoky
On top of old Smoky,
Ali covered with snoiv,
l lost my true lover,
Come a-courtin' too slous.

i In waltz style
Kentucky Mountain Song
Arranged by Leila Fletcher

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 p — — ' • ' • ' '--
This lovely melody by Robert Schumann should be played 'àt a moderate pace, not too slowlyj
it should be played with expression — skadc the melodie Une. LITTLE ROMANCE is
written in the Key of A minorj the Key of A.tninor is related to the Key of .C Major; both
have the same Key SIGNATURE: no sharps norflats.

mp (mezzo piano) - mod erately soft c,

£^ Aflnd ; oZq^s S C D E
_ ^y.
above Midicfíe C Q, T*" | |
gradually louden - —-^ 1 1 1
3 2 1

Little Romance
Robert Schumann
Arranged by Leila Fletcher
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 49
Johann Sebastiaa Bach was born in Eisenbach, Gernany in 1685. The Bach íàmily had been musicians for
some íwo hundred years prior to Johann's birth. Bach began composíng as a child and Iater wrote for his
own children to study. This Minuet is one of his most famous piano pieces. It is a graceful French dance
that requires iight but cheerful playing.

Minuet
Johann Sebastião Bach
Moderato
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John Newton was a sea captain who retired at the age of twenty-three to study for the ministry.
He wrote verses to use during his sennons, and published some three hundred. Amazing Grace
became his most famous verse and numerous folk singers paired it with this lovely early
melody. It hás been reported that this song is the worlcTs most popular melody of ali time.

Andante is a tempo marking indicating to play rather slowly, at a walking pace.

Amazing Grace

Early American Melody

Words by John Newton
Arr. D. Wmless
Andante
A tf i -——4—— " s p .1 7——---
Jr t f *-! - " ' i l
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l i
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A - m?>7, - ing

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t
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2" ' 3 _____ ____

yÒ « ti" ! ^ ^- ^f» > ^ —-"— i i —1 3T^

/5_
(m !\ - À j-3 J
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c
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tJ *—j < _ Í / • _l* t>r
1
swppf the soundj That saved a wretch like

4V
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ti
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a,
fm
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J ' ! l ' Y LJ «iJ
was Inst hnf

W un &'
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 51

Í
now. am_ found,. Was blind,. but
Q.

Jf ff'' "~~-^, i
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m
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nnw í see

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Musical Terms

Allegro - fast and lively. - pause.

Allegreíío - not as fest as Allegro Poço - litíle.
Andante - raíher slow, a vvaiktng pace. Legafo - connected.
Moderato - moderaíe time. Staccato - deíached.
Lento - slow. -f forte - loud.
p - piano - se ft. fflf mezzoforte - moderaíely loud.
TWp - tnezzo piano - moderately soft. crescendo [cresc.] - gradualiy louder.
diminuendo fdirn.J - gradualiy softer. - gradualiy louder.
~ ' ^=— - gradualiy softer.
Ritardando fríí.J - gradualiy slower.
 Maesíoso is a^tyíistie term indicating to play majestically. j

America, the BéautifuI

4 = 4 beats per tneasure
4 =3 j reccives i beat Samuel A. Ward
• Words by: Katherine Lee Bates
Arr. D. Wanless
Maestoso
A * ^—-—— i i 3 7^ —~_^_i 4
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l J J« n
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A* of
i f\^ •* n J * ^
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tfQJ 4 Jí J * WF
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Oh beau-ti-ftil for spa-cious skies For grain, For
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pur - pie moun - tain maj - es-ties A bove the fruit - ed plain! A-
iA
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fm
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mer - i-ca! A - mer - i-ca! God shed His grace on thee, And tf
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crown thy good with broth - er - hood From sea to shin - ing sea!
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 53
A popular but tragic song about Van Dieman's Land named after the Dutchman who
discovered it. Many people were transporíed there by boat often for petty crimes.

The Black Velvet Band

Traditional Irish
ft tí 5 l
ff *t « fj jA m
r
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(fr A P a1
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Her ey 2S they shone like dia - mói
1 t i
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think she was queen of the Ia nd with her
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up with a black vel - vet ban H

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2 !i ^-^_ --^

2. 4.
As I went walking down Broadway; Before judge and jury next morning,
Not intending to stay very long boíh of us did appear
I met with a frolicksome damsel, A gentleman claimed his jewellery,
As she carne iripping along And the case against us was clear.
l 5.
A watch she pulied out of her pocket, Seven long years transportation,
And slipped it right into my hand Right down to "Van Dieman's Land"
On the very first day that I met her, Far away from my friends and companions,
BnJ luck to the bl:ick velvst band. Bctraid t>y lhe black velvet band.
54
A Nocturne is a mght song or melody. This Noctume, in the Key of A Mihor, shouid be played with
expression. Sbade the melody line, make it song like; this nocturne shouid not be played too slowly.

Nocturne
Modcrato L. Fletcher

A. t *• i
f\ÍU AJ
m £J f
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legaio

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 > 55

j
This is a sixteenth note: Jl

Four sixteenth note equal

one quarter note: j j Y\ J

Rhythmic Study
(Tropicana)
In strict-time
56
[ Lento is a tempo marking indicating to play siowly. j

Scarborough Fair
Traditional English Melody
Lento Arr. D. Wanless

-/!_->
m " 4VA
f\S\ \j J 2 n -
» Jí
s iit
tJ ** * K
d * * M
&• 0
Are ypM go - ing to Scar - bor - oug h faiV?

L\* *> m
^A
r r\ • rp » v A (•r m
tn
r
t- Ȓ A r a r
./ > X r 1 1 r
l 2 l

"^Lk ? 1 f r rp j- itfr
# ti J
a
ir W
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1
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Pars - !ey, rose ma - ry and íhyme; Re -
•p
4\!• ri» '
p m
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r f" II f" v •
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í 2 3

2 l/CS

tf

f/JL
mb " *i J 1 , •-
G> «í
^Y a J &}•
tJ * * -J
she oncR WfS a true love of mine.

4» l» A l
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r * r r
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 57
TH E SCALE OF D MAJOR

The Scale of D Major hás 2 sharps: F $ C$

D Major scale uses the same fingering as C Major and G Major.

Play h ands separately fírst. Remember to make the thumbs move freely under the fíngers.

ò
1 3 I 1 / 4 5 4 l ». 3
10F
\
! J A '•/• r
!P « J i
ri É
(c\ ' 4
y
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9
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4

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1
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i
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i
/op
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|5 1 1 3 3 1 ' 1 |

Studies or Etudes are pieces written to develop one's technical skill.

SCALE STUDY
Play this study hands separately fírst, maintaining a flexible wrist and loose arm.

l 1 3 l, |

É •J
'
í ^ \S
l
^
rã
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ií
1
id
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3
f.
58
Ludwig van Beethoven was bom in 1770 in Bonn, Germany. As a chiid Beethoven displayed great musical
taient and learned to play several instruments. He moved to Vienna as a young man and studied for a short
time with Haydn. !t was in Vienna that he also met Mozart and where Beethoven remained, composing
until his death in 1827. By the age of 29 Beethoven began to lose his hearing and sadly, was never able to
hcar his Ode loJcy performed.

Ode to Joy
Ludwig van Beethoven
Arr. D. Wmless
Allcgretio

-35-
fm
^1j à\"?" _/ 4i
r j i y
t
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f t l \
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j 9
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 •»
B :' S SYNCQPATION is irregular accent,- the accent being placed on the part of the bar that is usually
a> m unaccented.For example, when a long note begins on a weak.beat and holds across other stronger beats,
a> P creating an unusai rhythmic effect which is termed syncopation:
a > ff
e; 1
e' í
rtffw
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r±* 1 4A
í
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f
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*J S ;w : Mw ^wM W ' '•

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2^ • Peasqfif Dance
^ x r

**l Rhythmically
Slovakia
5 ^rr. Leila Fletcht

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 Ludwig van Beethoven wroTè many rpmantic style pieces for the women in his Hfe. Fur Elise
is one of the most famous with its lovely meíody.

Fur Elise

Alfegretto

2 4- 1 5 cr
G
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3È S i££ í
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5 2

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 61

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Fur Elisc 2/2

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 62 &
This tune became a multí-million seller for composer Frank Mills.
He said: 1 spent about an hour composing the verse but U took severa! \t veekshappened só (àst
to complete the that I had trou
choras, ^
ust played, then I had trouble ^
thinking of a title. Weeks later my daughter Nancy, asked me to repair h er jewelery box. I opened the ^
lid and there minus an arm looking somewhat tired was my Music Box Dancer'. ^

Music Box Dcmcer

Frank Mill ^
l
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p l 3 2 l 2 3 . ^ ^

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 63

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